Word: marcato
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Well, cancer does signify a change in tone for a family's life. (The illness also arises when family friend Robert Marcato, 18, moves in with the Osbournes after his mother dies of cancer.) If future episodes ignore it, they may just seem cynically feel-good. And if anyone can work cancer into a reality sitcom, it is The Osbournes, which won us over by flouting convention, and MTV, which wins viewers over by telling them that they and their icons are part of the same extended family. MTV is full of series whose premise is giving ordinary people...
...middle of the program. It has a bright, attractive third movement where seemingly by accident a melody found its way into the oboe part. The movement is atypical of de Falla and slightly reminiscent of Poulenc. The first and second movements are far more percussive with frequent marcato chordal passages. Moshell and Wolff, their earlier roles reversed, were here soloist and conductor. The breakdown of the harpsichord precluded any fair judgment of the piece or its performance...
...pieces have an honest religiosity without sacrificing craftsmanship. Martino's use of the lowest alto range in "God hath two wings" was clever: effective not for the low notes but for severely limiting the range for the entire length of the stanza. Martino over-used violent marcato attacks, lending a cheap theatricality quite out of character with the over all tone...
...forth directly into "What Is and Should Never Be," a desultory serenade. This song's marcato conclusion features the best example of Plant's consummate syncopated singing in which he takes cognizance of each word past and forthcoming, and deftly employs the syllables to counterpoise the principal rhythm. "The Lemon Song" is a tongue-in-cheek medley of blues cliches, even to the point of "down on this killin floor." Although the band is almost as wry as the Beatles in "Yer Blues" or "Helter Skelter," the result here as there does not prove durable. Led Zeppelin's only ostensible...
...vigor and accuracy of the concluding two movements of Schumann's Sonata No. 2 in G Minor, Op. 22, however, were the evening's technical highpoint. In the Scherzo (Molto presto marcato). Hellman maintained a push, a drive, which testified to real stamina. The final Rondo (Presto) alternated diving attacks with lyric interludes, and Hellman polished off the sonata with, as ever, controlled, smooth strength...